This summer at Edinburgh Fringe, Australia’s foremost sleight-of-hand artist and former casino consultant Harry Milas lifts the curtain on the forbidden world of card cheating, deception, and psychological manipulation, for just 30 people at a time in a theatrical experience unlike any other. We sat down with Harry to discuss his upcoming performances at the Fringe.
Your show, “The Unfair Advantage,” invites only 30 people at a time. What inspired this intimate, high-stakes format, and how does it change the audience’s role in the performance?
Because that’s where real magic can happen. It’s like sitting around the campfire telling stories again. And good magic happening right in front of your eyes is a rare delight. It’s a wonderful challenge to perform some insanely difficult sleight of hand when you’re surrounded at close quarters, and I want my audience to bring everything they’ve got to my table.
As a former casino consultant and someone who now helps expose gambling rings, where do you draw the line between performance and real-life deception? Have you ever had moments where the two worlds blurred?
Absolutely and I talk about it in the show! I talk about the journey I took with this skill set, from using it to cheat to using it to teach. There’s an old joke that magicians are the only honest profession, because we tell you in advance we’re going to lie to you. Probably not a great idea to say that at the poker table though.
Audiences have to legally agree not to reveal what they’ve seen in your show. Without breaking that pact, what can you tell us about why secrecy is so crucial to the experience?
Because keeping a secret is what a great magician does! But also I literally tell you how to cheat at cards and that is definitely dicey terrain. Some of this information is kept very much under wraps. The NDA allows me to speak completely openly and answer any and all questions you will have.
After a sold-out U.S. tour, you’re bringing this production to the Edinburgh Fringe. How has international reaction shaped the way you perform or think about the show?
Everywhere I go I see the same thing: audiences sitting together in a small group sharing in something they’ve never seen before is an uplifting, joyful experience. It’s more valuable and important than ever before. Every city has been so different from the last, but people really are the same the world over. They want to be a part of something bigger than themselves.
You’ve been praised by critics across the globe—from Time Out to The Guardian. But what’s the most surprising reaction you’ve had from an audience member, either during or after the show?
The thing that has most surprised me is how many people tell me the show moved them to tears. The show has all the fireworks and delights of a magic show, but it’s message is what people come back to the most. And that makes me very happy. I’m very proud of this show and it’s an honour to bring it to the best theatre festival in the world. I can’t wait!